Replicare C Sun, 16 Jan 2022 01:28:01 +0000 en-US hourly 1 Replicare C 32 32 Turn your headphones into a world-class mixing room with the Dear Reality dearVR MIX plugin, anywhere, anytime Sun, 16 Jan 2022 01:28:01 +0000

Dear Reality, a subsidiary of Sennheiser, has launched stunning and immersive room virtualization into the stereo world, turning your professional studio headphones into a complete stereo mixing room.

dearVR MIX is an AAX/VST3/AU plug-in that leverages headset spatial compensation and supports 44 popular professional studio headsets. It offers three virtual stereo reference mixing rooms with four selectable speaker positions.

All of this means you can be teleported into your professional studio mixing room, armed only with your computer and headphones. Of course you can use it in the studio, but you can also use it on the road – without the expense of renting a studio.

The plugin is aimed at audio producers, artists, and content creators, and ensures that their stereo productions translate reliably to any audio system, regardless of production type or musical genre. dearVR MIX lets you create exceptional sonic experiences and assess positions, stereo width, reverb and low frequencies with total reliability – anytime, anywhere.

Christian Sander, CEO of Dear Reality, said, “Developing dearVR MIX was all about creating the ultimate virtual acoustic environments for headphone mixing. All of the experience we’ve gained in spatial audio is packed into one stellar plugin. dearVR MIX puts this technology in everyone’s hands.

Sander knows; he founded Dear Reality in 2014 with Achim Fell, with a mission to provide cutting-edge, high-quality 3D audio software for interactive and linear audio production. The company is renowned in the industry for its binaural, Ambisonics and multi-channel encoder with totally realistic room virtualization. Its products are used worldwide by sound engineers, sound designers, broadcasters and musicians. It was acquired by Sennheiser in 2019, with Sennheiser recognizing the amazing immersive audio capabilities the company was creating.

dearVR MIX can give you confidence in monitoring your session in multiple virtual reference rooms and mixing with professional studio headphones, using Dear Reality’s headphone spatial compensation technology.

It offers three world-class reference mixing rooms and four selectable mono and stereo speaker positions. Each mixing room can be tailored by controlling the amount of diffusion and setting the perfect balance between overcolor and localization, using Sennheiser AMBEO’s patented Clarity algorithm.

As you can see, there’s a lot of intelligence and technology built into the software, based on the audio expertise of Dear Reality and Sennheiser.

All of this means you get a reliable and consistent monitoring experience wherever you are, and can easily and accurately control your production in non-studio acoustic environments from your own device. You could be in the car, in the club, in your living room – the dearVR MIX plugin will transport you to a land of pure sound for clear sound and mixing excellence.

iTWire we tested dearVR MIX with a pair of Sennheiser HD280 PRO studio monitoring headphones.

Now, while many in the audio sphere increasingly mix on headphones these days – like Anna Kendrick’s Beca in the Pitch Perfect film series, let’s say – it’s still the great-sounding mixing room where many professionals seek audio excellence. Although it’s a great experience, it’s a lot of money. So many artists end up mixing exclusively with headphones in a less than ideal room.

The big goal of mixing is to make sure the audio gets from the producer’s mind to the listener’s ear as intended, but with a wealth of playback systems, from AirBuds to Hi-Fi, the sound can be distorted if the room being mixed in cannot effectively translate into this. range of options. Imagine if Corey Hart’s sunglasses at night or Queen’s bohemian rhapsody fell flat without the amazing left-right twist, not to mention their ups and downs?

iTWire found the plugin intuitive and clear, and that’s coming from someone who certainly has no significant audio mixing experience. I like to think I’m a bit creative, but I felt intimidated by the opportunity to review software that can be used by true professionals to find it surprisingly simple.

Note that since the software is a plug-in, you don’t run it directly; there is no “app” as such, but instead you use it with your existing audio software. For example, here I added it to GarageBand on macOS. Click on an empty plugin area and at the bottom of the plugin menu you can select dearVR MIX. Other audio software will also allow you to load plug-ins.


Dear Reality provided an impressive package; the screen offers settings to let you tweak the speaker setup and other elements, but without it looking like a Jumbo Jet cockpit. Of particular interest is the headset’s spatial compensation component which uses Dear Reality’s proprietary intellectual property, an algorithm that has been tuned, tested and fine-tuned by its expert audio, software and mastering engineers. This component provides spatial sound specific to the headphones you are using. The Sennheiser HD 280 PRO was there as an option, along with over 40 others.

“By carefully compensating for the sonic characteristics of individual headphones, dearVR MIX ensures the best binaural playback experience with the highest degree of out-of-head localization,” Sander said.

Mix v04 1200x

iTWire had a lot of fun playing with the software; controls let you play with ambience, focus, scenes, bypass, speaker setup and more. Some of the settings like ambience provided quite noticeable variation, adjusting the diffusion and taking advantage of Sennheiser’s Clarity algorithm, so you can find the perfect spot for the room you’re using. The scene option allowed you to select the various world-class reference mixing rooms you were using – as if you were physically sitting there – and also allowed you to select a physical room to emulate – such as the car, the club, kitchen, living room, or if your aspirations are big enough, a stadium.

The plugin is truly immersive and whether I was sitting outside on my patio – full of barking dogs, chirping birds, passing cars and the occasional crowing of distant suburban roosters – or at the Inside the house, I was spirited away in an incredibly clear crisp, quiet audio experience. I could play music and sounds and experiment, hearing all the subtle nuances of the changes I was making right away. I felt a level of control over the sound that I never imagined possible without actual physical audio mixing hardware.

The software works on both Windows and macOS and costs $132.66 (NZD 143.55) with a 14-day free trial so you can explore risk-free.

See it in action here:

How Children’s Author Cece Bell and ‘El Deafo’ Give Deafness a Starring Role in New Apple TV+ Animated Series Sat, 15 Jan 2022 15:00:00 +0000

Considering the world is entering its third year in the midst of a pandemic, it’s hard to remember what life was like before. At this point, 2019 feels like ancient history. It could just as well have happened during the Jurassic period, when dinosaurs roamed the earth.

As a tech journalist who’s covered Apple closely for years, I remember 2019 for the star-studded event that the company held in March at Apple Park to announce, among other things, the long-awaited AppleTV+ streaming service. The glitzy event was the closest I’ve come to covering a red carpet show, only no one was wearing their fanciest designer clothes. It was something to sit in the audience and watch Apple parade A-lister after A-lister on stage to promote their new project: Oprah, Steven Spielberg, Jennifer Aniston, Jason Momoa – even Big Bird was the. Then, as I walked around the press area of ​​the Steve Jobs Theater with people from Apple PR and other reporters, I distinctly remember being alerted at one point that JJ Abrams was standing twenty feet away. He was surrounded by other people, but to this day it’s pretty cool to think I was once near a celebrity.

When TV+ launched in November, it debuted with shows like The morning show, See, Dickinson, For all mankind, and more. And the list has significantly increased because. One of his most recent titles is the animated series El Deaf, which premiered on January 7. It shows the journey of a young girl named Cece who loses a significant portion of her hearing due to an infection. In his Press release announcing the show, Apple described Cece as “[learning] to embrace what makes her extraordinary.

Apple’s trailer for El Deaf is on Youtube.

El Deaf is based on the graphic novel of the same name, written by the author and illustrator Cece Bell. The book is somewhat autobiographical, as it reflects Bell’s own childhood experience of being born hearing and then becoming deaf. In a recent interview with me, Bell said the comic book momentum started a decade ago. She felt the need to come to terms with her deafness, as she was reluctant to tell anyone she was deaf or discuss it. Having once been a published children’s author, she thought what better way to confront her feelings than by writing for others. “I felt like the graphic novel would be the perfect format to try to share this story,” she said.

As to how El Deaf came for the small screen, veteran television writer Will McRobb contacted Bell and expressed how much he enjoyed the novel and was interested in developing a television version. Bell was a fan of his previous work, so she felt comfortable working with him. (Bell and McRobb are both executive producers.)”[It] it all kind of fell into place after that,” she said. “But someone like him had to be [someone] I already had respect for myself to really dive into transforming the book into a show. The decision to make the show animated was also easy, given that the book is in cartoon form. Another reason to animate El Deaf was, of course, the pandemic. With the animation studio located in Ireland, it was easier (and sensible given Covid) to work remotely by circulating notes and hosting virtual meetings. The remote aspect of the production proved particularly helpful during the post-production audio work, which includes Bell’s voiceovers, both of which play a crucial role in the show.

Bell described the audio work as a “very complicated, very delicate” process; she worked closely with engineers to get it right. In order to achieve maximum authenticity, Bell told them to “take a beautiful sound and make it terrible”. The convoluted and tricky part was that Bell had to explain to the engineers what she hears and what it sounds like, then ask them to recreate it. The show’s character voices are deliberately distorted, almost to an unintelligible level, to try to give the audience a sense of what Bell’s world is like. She clarified, however, that what is heard on the show is not literally what she hears – it’s an approximation of what she perceives hear.

“I was so involved [in the sound design], and I read more notes than you would ever want,” Bell said with a laugh.

A poignant point that Cece, the narrator, makes in the pilot episode is that, although she has lost her hearing, she does not have learn American Sign Language. She became deaf in 1975 and explained that deafness and sign language were not as socially accepted back then as they are today. Bell explained how, growing up, she attended a school dedicated to deaf children; in terms of communication, teachers urged students to learn to speak vocally and lip-read rather than learning sign language. Bell had about four and a half years of typical hearing and speech, so she quickly picked up the concepts of lip reading. Sign language was never an option for her, not only because it wasn’t taught, but also because Bell “didn’t want to be typecast,” she said. She considered herself a hearing person and believed that learning sign language would stigmatize her as an officially deaf person. Sign language is inherently performative, and Bell didn’t want to be stared at by his peers. “I just felt like this kid who didn’t want anyone to see me as a different person,” Bell said. “I didn’t want anyone looking at me. That was me when I was a kid, but I don’t think I really understood it [sign language] as I do now.

Bell is finally learning sign language, bit by bit, now that she is an adult. It was not easy for her. “I’m very slow,” she says.

The addition of El Deaf to the TV+ lineup is important not just for attrition – Apple used its nearly infinite war chest to pour considerable resources in the construction of the catalog of the service, with new content appearing all the time, but also for the representation. For all the endless talk about subscriber numbers by analysts, the company deserves the utmost credit for being among a select a few streaming providers to tackle the representation of disability in Hollywood with tenacity and authenticity. Bell’s series joins the ranks of See and CODA, as well as the recently canceled Small voice, as positive manifestations of disability. While disability has historically been portrayed on television and in film as something to be pitied and overcome – too often resulting in a sense of well-being and condescending fodder that the disability community derisively calls “daughter porn”. inspiration” – Apple has instead positioned disability as a matter of – in fact. Namely, that being disabled is not something of a Shakespearean tragedy – it is simply part of who we are as humans. In other words, Apple has taken the same care it uses for the accessibility support for its products and applied it just as significantly to the shows he funds for TV+. Apple is definitely not above criticism, but again, worth more recognition for her efforts to strengthen the inclusiveness of our marginalized communities. This gives TV+ an undervalued differentiator as it competes in the market.

As for Bell’s relationship with Apple, she couldn’t have been more complimentary of her dealings with the company. “Overall it was a great experience,” she said. Bell is “100% committed” to El Deaf every step of the way, saying Apple listened to her and gave her all the support she needed. Executives never questioned, for example, Bell’s insistence that the lead actress be deaf and have life experiences similar to hers. I asked if the aforementioned disability-centric shows were factors in his signing with Apple to El Deaf, and Bell said its deal was done long before things like CODA happened – back when TV+ carried only a fraction of the content currently available. Like apparently everyone on the planet, she loves Ted Lasso, telling me it was the first show she watched. “This [being on Apple TV+] was a happy accident, you know. I ended up in the right place,” she said.

Bell had some kind words to say about Tara Sorensen, who leads the creative development of children’s programming for Apple Worldwide Video. Sorensen, Bell told me, was adamant about El Deaf remain faithful by preserving its authenticity. Bell called Sorensen a “great, great defender of the book from the start”. Bell noted that while there were hiccups along the way — Bell was often the only deaf person in meetings — “everyone was listening and ready to take in the information,” she said. .

The show is still in its infancy, but reviews on El Deaf has been great so far. One of the comments Bell receives most often are notes from people who say they like the show, but felt they had to adjust their TV volume because the show’s distorted sound sounded like their device was broken. She also hears from many parents, who are thrilled that their children see what other children’s lives are like and are exposed to esoteric technologies like hearing aids. Deaf children in particular, she added, are “very excited” to see themselves on TV and personally identify with the experiences of the animated Cece. “It’s been really, really fun [working on the show], and I’m very relieved that people are enjoying it,” Bell said.

Apple has posted a video on YouTube which features a special comment from Bell.

The three parts El Deaf can be found now in Apple tv app.

Novak Djokovic’s appeal against visa cancellation moves to higher court Sat, 15 Jan 2022 05:15:00 +0000

MELBOURNE, Australia — Novak Djokovic was reportedly back in immigration detention on Saturday after his legal challenge to avoid being deported from Australia for not being vaccinated against COVID-19 was referred to a higher court.

A Federal Court hearing has been set for Sunday at 9:30 a.m. local time (5:30 p.m. EST Saturday), a day before the No. 1-ranked men’s tennis player and nine-time Australian Open champion was due to begin his defense of the title at the first Grand Slam tennis tournament of the year.

Judge David O’Callaghan said on Saturday the court would liaise with all parties on whether the proceedings should be heard by a single judge or a full court later in the day.

Police closed a lane behind the building where Djokovic’s lawyers are based and two vehicles exited the building mid-afternoon local time on Saturday. In television footage, Djokovic could be seen wearing a face mask in the back of a vehicle near a migrant detention hotel.

The Australian Associated Press reported that Djokovic was back in custody. He spent four nights confined to a hotel near Melbourne city center before being released last Monday when he won a legal challenge on procedural grounds against his first visa cancellation.

Immigration Minister Alex Hawke blocked the 34-year-old Serb’s visa, which was initially revoked when he landed at Melbourne Airport last week. But he was reinstated by a judge on Monday on procedural grounds because Djokovic was not allowed to have a lawyer with him at the airport.

Deportation from Australia can result in a three-year ban on returning to the country, although it can be lifted, depending on the circumstances.

Djokovic has a record nine Australian Open titles, including the last three in a row, part of his total of 20 Grand Slam championships. He is tied with Rafael Nadal and Roger Federer for most by a man in history.

Djokovic admitted that his travel declaration was incorrect as it did not state that he had been to multiple countries in the two weeks prior to his arrival in Australia.

In a social media post on Wednesday that was his most extensive public comments on the entire episode, Djokovic blamed his agent for checking the wrong box on the form, calling it “human error and certainly not deliberate. “.

In that same message, Djokovic said he had given an interview and a photo op with a French newspaper in Serbia despite knowing he had tested positive for COVID-19 two days earlier. Djokovic tried to use what he says was a positive test taken on December 16 to justify a medical exemption that would allow him to circumvent the vaccine requirement.

Hawke said he canceled the visa for “reasons of health and good order, on the grounds that it was in the public interest to do so”. His statement added that Prime Minister Scott Morrison’s government “is strongly committed to protecting Australia’s borders, particularly in relation to the COVID-19 pandemic”.

The main ground of appeal against Hawke’s decision, according to the athlete’s lawyers, was that it was not based on the health risk Djokovic might pose by not being vaccinated, but on how which it could be perceived by anti-vaxxers.

Morrison himself hailed Djokovic’s impending expulsion. The whole episode struck a chord in Australia, particularly in the state of Victoria, where residents endured hundreds of days of lockdown at the worst of the pandemic and adult vaccination rates exceed 90. %.

Australia is facing a massive increase in virus cases caused by the highly transmissible variant of Omicron. On Friday, the country reported 130,000 new cases, including nearly 35,000 in Victoria state. Although many infected people are not getting as sick as in previous outbreaks, the outbreak continues to strain the healthcare system, with more than 4,400 people hospitalized. It also disrupts workplaces and supply chains.

“This pandemic has been incredibly difficult for every Australian, but we have stood together and saved lives and livelihoods. … Australians have made many sacrifices during this pandemic, and they rightly expect that the outcome of those sacrifices is protected,” Morrison said. . “That is what the minister is doing by taking this action today.”

Everyone at the Australian Open – including players, their support teams and spectators – must be vaccinated against the disease caused by the coronavirus. Djokovic is not vaccinated and had requested a medical exemption on the grounds that he says he tested positive for COVID-19 in December.

This exemption was approved by the Victorian state government and Tennis Australia, apparently allowing him to obtain a visa to travel. But Australian Border Force rejected the exemption and canceled his visa when he landed in the country on January 5.

Djokovic spent four nights in a migrant detention hotel before a judge overturned the decision. The move allowed Djokovic to move freely around Australia and he trained daily at Melbourne Park.

“It’s not a good situation for anyone,” said three-time Grand Slam champion and five-time Australian Open runner-up Andy Murray. “I just want this resolved. I think it would be good for everyone if it was. It just seems like it’s been dragging on for quite a long time now – not great for tennis, not great for the Open d ‘Australia, not great for Novak.”

Under Grand Slam rules, if Djokovic is forced to withdraw from the tournament before the order of play for Day 1 is announced, No. 5 seed Andrey Rublev would take his place in the squad.

If Djokovic withdraws from the tournament after Monday’s schedule is published, he will be replaced on the pitch by what is known as a ‘lucky loser’ – a player who loses in the qualifying tournament but enters the main draw because of of another player’s exit before the competition has started.

And if Djokovic plays in one match – or more – and is then told he can no longer play in the tournament, his next opponent will simply advance to the next round and there will be no substitution.

Reuters contributed to this story.

All local COVID patients in intensive care not fully vaccinated: health unit Fri, 14 Jan 2022 22:41:15 +0000

Content of the article

Twelve people from the area are in a local hospital and two others are hospitalized outside of Grey-Bruce with COVID-19, the health unit reported Friday.


Content of the article

Five of them are in a local intensive care unit and two others are in an intensive care unit outside Grey-Bruce, said Dr. Ian Arra, Grey-Bruce’s medical officer of health. None of them are fully vaccinated, Friday’s daily COVID update said.

Meanwhile, COVID outbreaks in long-term care homes or nursing homes totaled 11 Friday involving: Rockwood Terrace Long Term Care – Durham, Pinecrest Manor – Lucknow, Errinrung Retirement & Nursing Home – Thornbury, McVean Lodge – Hanover, R-Villa Retirement Living – Ripley, Parkview Manor – Chesley, Mapleview Long-Term Care Home – Owen Sound, Lee Manor – Owen Sound, Gray Gables – Markdale, Maple Court Villa – Walkerton and Summit Place – Owen Sound .

The COVID outbreak in Unit 6-2 at Owen Sound Hospital continues.

The number of local COVID deaths stands at 27.

There were 61 new cases of the pandemic virus reported in Grey-Bruce on Friday. But because testing has had to be limited, the virus spreading in the community is underrepresented by the number of confirmed cases, according to the health unit.

New PCR testing requirements allow for symptomatic testing for high-risk individuals and those working in high-risk environments. PCR testing for asymptomatic contacts is generally no longer recommended, the health unit says.

These eligible symptomatic individuals include hospitalized patients, those in emergency departments at the discretion of the clinician, healthcare workers in contact with patients, and a number of others listed at -Us/News-Releases/ArticleID/971 /Updated-PCR-Testing-Eligibility-and-Case-and-Contact-Management-in-Ontario .


Content of the article

People with symptoms of COVID-19 are presumed to have the disease and should follow isolation and/or self-monitoring guidelines, the health unit says.

The total number of confirmed cases of COVID-19 in Grey-Bruce is 4,835, of which 4,545 are considered resolved.

* * *

As of last report Friday, 13,376 doses of COVID-19 vaccine have been administered in the past seven days, and 330,048 doses have been administered since the vaccines became available.

Today, 76.4% of Grey-Bruce residents age five and older are fully immunized (at least two shots). Provincially, 82.2% of Ontarians aged five and older are fully immunized.

Updated immunization clinic schedules are posted at

* * *

New provincial eligibility criteria for immunocompromised people will allow some people to receive a fourth dose of the COVID-19 vaccine after 84 days, a press release from the Gray Bruce Health Unit said Friday.

Some immunocompromised people are eligible for a third dose eight weeks after their second dose, the health unit said.

People should ask their healthcare professional if they are eligible for boosters, according to the health unit statement. Among those who may be eligible are transplant recipients, people undergoing chemotherapy or undergoing immunosuppressive therapies.

All who qualify should make an appointment by calling the Provincial Vaccine Contact Center at 1-833-943-3900, or drop by a participating pharmacy or on a GO-VAXX bus, by appointment only.


Content of the article

* * *

Ontario reported on Friday that 184 more COVID patients had been admitted to hospital, bringing the total number of hospitalized COVID patients to 3,814 – a 54% increase from a week ago – while there were 2,472 patients hospitalized with COVID.

The number of patients reported in intensive care with COVID was 511, an increase of 30 from the previous day in ICUs across Ontario. The total was 324 seven days ago – so there has been an increase of almost 58%.

The seven-day rolling average of COVID patients in an intensive care unit is 463, Ontario Health Minister Christine Elliott tweeted on Friday. Of the 527 in intensive care on Friday, 185 were fully vaccinated (35%).

Elliott also tweeted that 80% of patients admitted to intensive care were admitted for COVID-19, while 20% were admitted for other reasons but tested positive for COVID.

Ontario recorded 10,964 new cases of COVID on Friday. But limited testing no longer captures everyone who has the pandemic virus.

* * *

Georgian College classes that are currently fully online will remain online through study week, February 28 to March 4 – an extension from January 28.

But classes that currently require an in-person lab, such as many health, wellness and science classes, will continue as planned, the college said in a news release Friday.

In mid-December, with the growing presence of the highly transmissible variant of Omicron, the college decided to reduce activity on campus to begin the winter semester.

“We had hoped that early 2022 would be the beginning of the end of the COVID-19 pandemic and we could see a significant increase in activity on campus,” said MaryLynn West-Moynes, President and CEO. administration of Georgian College. Release.

“(M)ut with the highly transmissible variant of Omicron still a factor, we had to make necessary changes to program delivery to reduce activity on campus. The health and safety of our students and employees remains our top priority. »



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Three Simple Secrets to Better Blends Fri, 14 Jan 2022 13:59:02 +0000

Hello and welcome to another episode of Dojo. This month, I’m going to share three simple secrets to getting better, more consistent blends. In the ever-changing world of music mixing, engineers must constantly refine their chops while being acutely aware of current trends, past traditions, managing artist expectations, all while adding and refining their own contribution to recordings.

Regardless of genre, I’m often asked, “How can I improve my mixes?” I usually answer with “it depends”. Mixing is not mathematical, there is no theorem or equation that will give you a precise approach. It’s a matter of emotion. Your job when you’re mixing is to bring final attention to flowing, emotional moments by guiding the listener on a highly curated journey. How can we even begin to approach this abstract goal? Tighten your belt, the Dojo is now open.

Suppose you already have an intimate knowledge of the vision for the song or album. This is a crucial step! This is the one I spend a lot of time developing. I passionately believe that artists and bands deserve a mixer that is completely committed to their vision and can add deep and meaningful contributions to their recordings while still being an objective voice that can bring a little more magic to the project. Don’t start mixing until you’ve done your homework and really understood the deep level of sacrifice that artists have to endure to make their music. You should also feel the honor and responsibility that comes with it.

Your job when you’re mixing is to bring final attention to flowing, emotional moments by guiding the listener on a highly curated journey.

Now here are these three secrets to better blends:

1. Who’s downstairs?

My main goal is to get to the emotional heart of the song as soon as possible. On first listen, I don’t worry about “is the hi-hat too loud?” I mount the faders individually, as seen in Fig. 1, and just listen.

On the next listen, I get base levels and figure out which instruments are important in which sections. Quickly, I approach the genre and determine “who is at the bottom”. There are usually two choices: bass (or synths or low-tuned 8-string guitars) or kick drum. Musical genres have certain expectations. For example, hip-hop and rap usually reserve the lower end of the frequency spectrum for kicks and tuned 808 sounds, while heavy rock usually wants guitars at the bottom with just the kick drum attack. above for articulation. Your understanding of this and the artist’s tolerance for how much they are willing to push those expectations will help you decide. This does not mean that the values ​​cannot change depending on certain sections of the song. I do a little, but overall there should be a clear winner and a clear approach.

2. Less is more

Figure 2

When using the EQ, use it to cut off problematic frequencies. Far too often people raise the frequencies of what they to want to hear rather than enter and spot problem areas. As a result, everything becomes stronger, and problem areas do not disappear. Does the bass drum sound? Go find that frequency by scanning a narrow, won Q point on the frequency spectrum [Fig. 2] until you find the ring, then cut it!

Figure 3

The same can be done for treble guitars, bass-heavy percussion, muddy keys, and particular vocal notes that really jump out and sound shrill. Don’t forget to boost with a narrow Q, sweep, isolate and cut [Fig. 3].

3. Beware of the Buzz Cut

Don’t overuse compression. Most of the time when using compression I get between 2 and 10 dB of gain reduction. Anything beyond that, and I need to have a valid reason (crush a drum kit, pin a background vocal or synth, etc.). Try to keep as much dynamic range in your mix as possible and your audience will be able to climb more into the mix, and their ears won’t get tired.

Figure 4

Take a look at a classic war mix from the 2000s in Figure 4. See how the music has a “cut buzz?” There is virtually no dynamic range. All is Ioud!

Figure 5

Now look Figure 5. It’s a classic heavy metal song, and look at the dynamic range.

FYI, Apple Music, Spotify, and others are really rewarding mixes with greater dynamic range, and if their algorithms determine that your mix is ​​sporting a muted buzz, they’ll reduce your volume level anyway, thereby foiling your dastardly plan to win the strongest-is-best contest.

Blessings and, until next time, namaste.

South Island Kōkako: recording sparks hope of spotting elusive bird Thu, 13 Jan 2022 02:36:30 +0000

A recording from the Heaphy Trail in Kahurangi National Park is being analyzed to determine if it is the South Island kōkako.

Illustration of the South Island kōkako, now believed to be extinct.
Photo: Florilegius / Leemage via AFP

The last confirmed sighting of the South Island kōkako, now believed to be extinct, dates back to 1967.

South Island Kōkako Charitable Trust CEO Inger Perkins said Morning report a researcher from Victoria University, Professor Stephen Marsland, had informed them that his program filter had just picked up the song of the kōkako.

Perkins said there were three people on the track, when they heard some long, sweet notes. Remembering the North Island kōkako they had heard before, they stopped dead and saw a bird of the “right size and color” walk away.

They managed to capture the last notes before it calmed down, she said.

“We went back there with volunteers and they played other sounds there that we think were the kāka, and the kāka responded.

“We know that the kāka react to the local sounds they make, and they responded to our previous recording but not this one.

“So we think it’s very different and we think it’s most likely the kōkako.”

While it may be difficult to identify it with a single bird because others such as tūī and kāka mimic the call of the kōkako, Perkins sees some light with this particular recording.

“[The South Island kōkako bird call is] pretty much the same as the North Island kōkako, but we’re looking at a few slight variations across Professor Marsland’s project so we can add to this analysis.

“Even when we hear the kāka making a flute sound, among the shrill sounds of chatter, they can mix it with the other sounds, while that particular note [on the recording] it’s just all by itself.

“The same with the tūī, they can have their boring sounds and their chatter and their squeaky sounds and their harsher sounds and maybe a softer note in between, but not just that mellow note in itself and also its melancholy nature … seems to indicate a kōkako. “

Now the Trust is hoping to seek visual proof of the elusive bird.

ANNOUNCEMENT – ZOMES INVESTMENT DOMES Wed, 12 Jan 2022 17:29:00 +0000

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German company Pantaleon Films adds Yoko Higuchi-Zitzmann to its management team | News Wed, 12 Jan 2022 11:13:17 +0000

Yoko Higuchi-Zitzmann will join Dan Maag and Patrick Zorer as the third member of the management board of Pantaleon Films, the production subsidiary of German media company Pantaflix AG.

In his new role at Pantaleon, from February 1, Higuchi-Zitzmann will focus on the development and production of event series and feature films for the German and international markets.

She joined Pantaleon after four years as a producer at the Studio Hamburg Production Group Letterbox Filmproduktion subsidiary (I am your man) where she designed and produced the six-part event series Herzogpark for being shown on the German streaming portal RTL + this year.

Founded as a production company by actor-director Matthias Schweighöfer, Dan Maag and Marco Beckmann in 2009, Pantaleon Films’ production credits include the romantic drama of Tim Trachte Near the horizon, Alain Gsponer’s family drama Wolke unterm Dach, Helena Hufnagel Engagement Phobia, the drama by Jonathan Jakubowicz Resistance, and the Netflix movie Army of thieves directed and performed by Schweighöfer.

The company recently finished filming the comedy Die Geschichte der Menschheit – leicht gekürzt starring the crème de la crème of German actors and co-produced with Gerda Film Production, Warner Bros. Film Productions Germany and Brainpool TV, for a German theatrical release by Warner Bros later this year.

Pantaflix AG consolidates Pantaleon Films, the VoD company Pantaflix Technologies, the audio production unit PantaSounds, the creative agency CC15 and the production unit Pantaflix Studios.

DC Building Security Company Adds ‘Health Pass’ Access Option Tue, 11 Jan 2022 14:36:15 +0000 Falls Church-based Kastle Systems has added a health card option for tenants and building owners who use its access control systems. An app it is linked with allows people to upload proof of COVID-19 vaccination.

Kastle Systems, based in Falls Church, Va., Has added a health card option for tenants and building owners who use its access control systems.

Kastle has partnered with CLEAR, the airport screening service provider, for the Building and Office Health Pass for employees.

The app links the verified identity of users to health information related to COVID-19, including vaccine verification and test results. It links this data to Kastle’s building and office entrance systems to authorize or restrict access to buildings or office suites.

Health Pass, which CLEAR started rolling out last summer, also syncs with the Apple Health app.

“Kastle Systems and CLEAR provide an important technology solution for businesses looking for a simple and efficient way to administer and enforce office health and safety policies with minimal administrative overhead,” said Mark Ein, president of Kastle Systems.

The app is modular, which means office owners or tenants can decide what requirements need to be met for entry.

While Health Pass is currently limited to verified employees, Kastle Systems says it will eventually include apps for visitors and vendors.

Kastle Systems serves approximately 1,200 buildings in the DC area, which is its largest market. He did not immediately state how many tenants in the DC area initially signed up for the addition of the health pass.

CLEAR’s preselected access service is used by more than 50 venues, such as airports, including the three DC area airports, and other venues, including sports stadiums, such as Capital One Arena in DC. CLEAR has over eight million registered users.

“From stadiums to small restaurants, Health Pass helps businesses of all sizes create safer environments and stay open,” said Caryn Seidman-Becker, CEO of CLEAR.

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Burial: Antidawn Album Review | fork Tue, 11 Jan 2022 05:00:00 +0000

Burial Anti-dawn opens with such a subtle sound, if instinctive, you might miss it the first half a dozen times: harrump of a throat clearing. But no opening line or explanatory statement materializes in its wake. Instead, a thousand shades of gray rush to fill the void. In the background, a blunt stylus weaves its way endlessly through a dusty vinyl rut, the Sisyphus Loop that carries all of Burial’s music. The chimes twinkle in the dark; a weak wind is blowing. In the distance, a voice faintly reminiscent of Gregorian chant flares up and goes out, like a votive in a nave full of drafts. Almost a full minute passes before we hear the next melody-like thing – a brief snippet of a voice plaintively singing “You came around my way” – but its appearance is fleeting, followed only by more. empty.

Across five tracks, Burial unfolds like this for nearly 44 minutes, teasing impending emotional gain, then falling back into obscurity. This is his longest offer since 2007 False– long enough to be considered his long-awaited third album, had he chosen to call it that. But it’s also the London musician’s most insignificant outing, apparently on purpose. The music simply winds, drifting through stray synthesizers, snippets of vocals, and Burial’s usual diegetic sound effects – coughs, light thumps, crickets, thunder, rain – cut off from all context. There are few musical cues and few recognizable forms of composition. Above all, there are almost no drums. Not the two-step rhythms that have defined Burial’s work from the very beginning. Not the roaring trance and techno impulses that have crept into songs like “Space Cadet” lately. Not even the soft and rhythmic grooves of a ballad like “Her Revolution” or “His Rope”. (The notable exception: a brief sequence of muted bass drums, halfway through “New Love,” whose thud is reminiscent of Wolfgang Voigt’s GAS project.) Anti-dawn is a barren wasteland, warmed only by the occasional church organ or a dismal piece of love song.

This is not the first time that Burial has put his drums on mute. He did it on “Nightmarket” in 2016, a strange collage of rhythmless synth melodies and statics that marked a significant break with the harsh “Temple Sleeper”. The following year, the spacious “Subtemple” and “Beachfires” descended deeper into the cold regions of the ambient music, and he again went underwater caving with “Dolphinz,” a nine-minute stretch of wails of cetaceans and ominous sub-bass drone. In the ambient corner of Burial’s work, what distinguishes Anti-dawn, beyond its extreme spread, is the chorus of glued voices that hold together its expanse swept by the wind of undulating nothingness. Mainly sung rather than spoken, these sampled utterances unite around the themes of absence, desire and discomfort.

“Hold me,” pleads a voice in the opening “Strange Neighborhood”; “Nowhere to go,” another mutters, before a third responds, “Walk these streets.” “Shadow Heaven” deploys plea after plea: “Let me hold you”; “Come to me my love”; “Take me into the night. Looks like Burial has gone through his record collection and put together all the tracks where a singer begins a verse with little to no accompaniment, except maybe one quavering synth. Particularly on the “Upstairs Flat” fence, the cumulative effect is like a love letter written in fading ink, the story reduced to a few brushstrokes: “You came my way”; “Somewhere in the darkest night”; “When you are alone”; “I am here.” Against the ticking of a grandfather clock and a few dismal notes of a muted trumpet, the record ends with a scrambled plea that looks a lot like “Come bury me”, a fitting cornerstone for this intensely interior EP.

East Anti-dawn a powerful distillation of Burial’s aesthetic, or a caricature of it? I hesitate between these two evaluations. Few artists are so indebted to their stylistic tics as Burial; by all rights he should have gotten into a corner a long time ago, but he kept things interesting by splashing out some garish colors and jarring details – the gospel house of “Dark Gethsemane”, the acid-trance arpeggios of “Chemz” – on its decidedly grayscale palette. Anti-dawn leaves no room for this kind of surprise. Instead, he doubles down on his signature sounds and decidedly downcast mood; its melancholy is so pervasive that it risks being sucked into a tearful surf.

However, if you are in the mood to submit to its charm, Anti-dawn can exert powerful traction. Burial never showed great fidelity to the squared regularity of most contemporary electronic music – he claimed to create his first songs using rudimentary audio editors that lacked the quantified precision of music software. advanced music composition – and Anti-dawn moves further than ever from the conventional musical meter. Even with the almost complete absence of drums, however, a different kind of rhythm begins to take hold. Despite the music’s apparent lack of purpose, these synths, vocals, sound effects, and pockets of silence are carefully paced; they are added to a sort of ebb and flow, a coming and going as natural as breathing.

In recent years, Burial has increasingly attempted to escape the linearity of dance music by assembling pieces of songs into multi-part suites. With Anti-dawn, he makes the most of this technique; every track is riddled with fakes, fake ends and traps. In this sense, despite the heaviness of the record, there is something playful in Anti-dawn. Burial’s relentless refusal to deliver anything like closing suggests a sour sense of humor, Beckett’s musical equivalent Waiting for Godot. I always come back to that cough at the beginning of the record, and to the curious feeling of absence that it signals. I imagine a portrait painter clearing his throat and abandoning the scene: all that remains is the mottled velvet background, yet the painter persists. The background becomes the foreground; the artist’s private obsessions – ruminant, claustrophobic, perhaps even alienating – swell to fill the frame.

Buy: Crude Trade

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